SPOTLIGHT: Interview with RENEE WITTERSTAETTER

Thanks to Richard Vasseur for getting me to talk about myself for a bit. It was fun to go down memory lane and look ahead to what the future holds. The original interview appears here:

http://forums.jazmaonline.com/topic.asp?TOPIC_ID=4061

Best,
Renee

_________________

Renee Witterstaeter
Writer/Editor/Publisher/Art Agent
Company: Eva Ink Artist Group
Interviewed by: Richard Vasseur/Jazma VP
Posted: 23/01/2012




Rich: What is the Eva Ink Artist Group?

Renee: Eva Ink Artist Group is my company (www.evainkartistgroup.com) through which I act as an artist agent, talent liaison, booking agent, etc.-- for numerous wonderful creators in sequential art, cartooning, animation, gaming and advertising. In fact, we offer many different services including as mentioned, game design, product development, storyboards, voiceovers, editing, publishing, custom comics, lettering, coloring, inking, penciling, you name it! Whatever someone might need an artist to do or create.

Eva Ink Artist Group is also a part of Eva Ink Publishing which I founded around 1997 through which we produce numerous sketchbooks, art books and art retrospectives. Some of our books include:"Alex Toth: The Art of Zorro," "Michael Golden Monsters: Portfolio," "The Art of the Barbarian," "Nick Cardy: The Artist at War," "Michael Golden: Heroes and Villains," "Michael Golden: MORE Heroes and Villains," "Mark Texeira: Nightmares and Daydreams," "Kerry and the Scary Things," and "Joe Jusko: Savage Beauty." We have also produced several mini sketchbooks including "Steve Scott Sketches," and "Tex: Babes and Brawn."



We have numerous new books in the works including "Michael Golden: Dangerous Curves," "Joe Jusko: Maelstrom," and the art book "Nick Cardy: Wit-Lash--The Humor and Human Observances of Nick Cardy."

Via Little Eva Ink toys, we also produce figurines and action figures. Most notably the "Stick it to 'em" pincushions which were take offs on World War II novelties, updated for modern times.

So, as you can see, we are a one stop source for many projects if a client wants full service resources.

As for the name, "Eva" is my first name. It's also the name of my Grandmother, for whom I was named. I'm "Little Eva." Originally we went by Little Eva Ink. I still use the "Little" sometimes for various projects.

Rich: Who are a few of the people you represent and what are their talents?

Renee: Well I only work with the best! And we certainly do have that at Eva Ink Artist Group.

Michael Golden is a renowned storyteller in the industry--co-creator of Bucky O'Hare, Spartan X, and Rogue from the X-Men, among others. His storytelling is considered groundbreaking in such books as "G.I. Joe," "Doctor Strange," "The 'Nam," etc. etc. Way too much to mention. He's also an incredible writer and cover artist, conceptual designer, you name it. Currently, he is the cover artist for "Spawn." Michael is one of the best designers and craftsman in the business as far as I'm concerned. Also great for ad work and product development, where the client wants the absolute best. We are currently concentrating on his intellectual properties for animation and film.




Mark Texeira is a classically trained fine art painter, who has brought those skills to sequential art. One of the few that has this ability. I have always thought if born in a different time, Mark would have been one of the most sought after portrait artists around. As is, he is a wonderful artist to choose for portraiture if one is in the market. On top of that, he is known for his sequential art which is full of raw passion and energy, on such books as "Ghost Rider," "MoonKnight," "Wolverine," "Black Panther," record covers, ad work, and much more. Mark is often called upon to do the covers for those books as well, and it's always great to see comic book characters done in his fine art style.




Matt Triano is an amazing talent who is great not only with sequentials, but covers, ad work, storyboards, etc. He has not failed to shine on any project he's done with me. I think one of his strong suits is his style which stands out as uniquely his own, bringing a nice consistency to the projects he works on. Currently he is working on projects with Zenescope as well as The Discovery Channel. His credits include work for Moonstone, DC Comics, and The Robin Hood Charity in New York as well.

Dennis Calero is a amazing talent, and I've called on him to do storyboards, painting, and sequential art in the short time he's been with Eva Ink. He's great with likenesses for custom comics and media tie-ins. I so appreciate his professionalism and attention to deadlines and client needs, while producing top notch work. You can see some of his work on such books as "X-Men Noir," "Weapon X Noir," "JLA," "Darktower," Batman, Plastic Man, and much more.

I also of course, rep and book myself. I am a writer on top of being an editor and artist agent. I do read manuscripts, film scripts, comic scripts, etc., when hired as a consultant. I also package books via Eva Ink Publishing.

Recent books I've been hired to write include"The Fantastic Art," "Excess: The Art of Michael Golden," (Vanguard), "Tex: The Art of Mark Texeira" (Vanguard), "Dying for Action: The Life and Films of Jackie Chan" (Warner Books), and via Eva Ink "Nick Cardy: The Artist at War," "The Art of the Barbarian," and "Kerry and the Scary Things." Currently I am writing a fiction novel for one of my clients, as well as "Nick Cardy: Wit-Lash."

In addition, I also do booking for other artists such as Rodney Ramos, Liam Sharpe and Joe Jusko, and writer Ric Meyers.




Rich: How did you make your start in the world of comics?

Renee: I like to joke that it started when I discovered some old Jerry Lewis and Spiderman comics and "Mad Magazines" in my brother's bedroom when I was 7 or so.

But in reality, it was one of these situations where one door opens and you decide if you will walk through it or not. That one decision can, and often does, decide the course of your whole life.

I became interested in Journalism while I was in Junior High School, when my brother Robbie took me to one of his High School Journalism parties, trying to recruit I suppose. I was already the editor of my Jr. High newspaper, and was already producing slide show documentaries-- most often relating to history.

The one I was most proud of in Jr. High was on World War II, documenting the whole conflict on slides, timed and accompanied by a cassette tape recording. The nice German lady who helped me with the voiceover recording had actually been a concentration camp survivor. I won an award for that.

But basically, what I'm trying to say is that I was interested in storytelling-- all forms of storytelling-- from an early age.

I was the kid that would sneak out of bed every night to watch the Midnight Movie (we only had three channels), while my parents were asleep. So that was my film education, and I saw everything. I think that my Dad thought it was funny. I'd often stay awake until the channel went off the air after the movie, by showing a huge picture of the American Flag and playing "The Star Spangled Banner." Dad was a postman--back when that was a wonderful job--and would wake up early at 4 am to go to work, turn off the TV and put me to bed.

So, starting off that way, being a shy kid, and somewhat overweight until I hit high school-- you tend to spend alot of time in your head using your imagination. Drawing as a kid, reading all the books in the library subject by subject, eventually finding an outlet for creativity in the Jr. High newspaper, continuing with editing my High School newspaper, then my college newspaper and art magazine... I think my path was laid to be involved in storytelling in one manner or another.



While I was in college at East Texas State University, some of my friends from Texarkana told me they were going to a convention in Dallas, Texas called the Dallas Fantasy Faire--- one of the premier shows of the time--and asked me if I wanted to go. So we loaded up the truck and drove to Big D. I had an amazing time talking to writers, artists and other creative types, and met friends at that show that have remained my friends until the present.

In fact, my first job out of college ended up being as the "Girl Friday" for the Dallas Fantasy Faire working with the owner, Larry Lankford. I think my official title was "Assistant Convention Coordinator" or something like that. But it entailed everything from making phone calls to acting as a guest liaison, to taking and developing photographs, writing press release and articles. Laying out the program books. You name it. Whatever needed to be done.



From that experience I met many people in the comic book industry and landed a job as an assistant editor at DC Comics on the Superman books with editor Mike Carlin. Carlin taught me a great deal about comics storytelling and putting together a comic book, and I'll always be grateful to him for that.

From there, I moved over to Marvel Comics for five years, starting out as the assistant editor for Craig Anderson on the Silver Surfer books. I was the editor on "Conan Saga" then too, and assistant editor for "Savage Sword of Conan." Soon, I became a full editor, and had my own line of books, including "She-Hulk," "What The?" "The Impossible Man Summer Special," "The Marvel Holiday Special," and numerous others.

When my friend ,and one of my mentors, Jim Salicrup, became the head at Topps Comics. I joined him there for 5 years, editing such books as "Xena," "Hercules," "Jurassic Park," "Jason Vs. Leatherface," and I can't remember how many other books. It was a fun time. And fortuitous since I left right before one of the Marvel head choppings. Many of my friends lost their jobs, including some fantastic editors. I was happy to be at Topps.

After this run of comic jobs, I worked exclusively in film for five years, on such movies as "Rush Hour II," "Red Dragon," "To Ease the Lose," and dozens of music videos for talents like Madonna, Seal, Usher, and of course too many commercials to count.

The funny thing about all my various jobs, be it working at a small newspaper, doing PR for a convention, editing comics or working in film, the attention to detail, and the eye for storytelling and graphics--the skill set required was the same. My skill set served me well at each of these jobs, I think. It's about adaptability, I suppose.



I've been an agent, in addition to everything else, since 2003, when an artist friend of mine asked me to start repping him because of my knowledge of comics (I was working exclusively in film production in LA at the time, so comics sort of "pulled me back in.") And again, I'm using all those same skills I used as a comics editor or a crew member.


Rich: How did you find working as a Color Artist on such titles as Avengers, Spider-Man and Captain America?

Renee: I found it to be a necessity.

While I enjoyed my work in comics as an assistant editor, the pay was extremely low. An assistant at DC made around 17k a year. I moved to Marvel because I got a raise to 23K or something like that. Still, living alone in Manhattan has been expensive for decades now. To make ends meet, many of the assistant editors would take any freelance job they could. I wrote letter columns daily at $50. a pop. And colored numerous comic books. It was great fun to color back then.

We used Dr. Marteen's dyes and hand colored 8.5 x 11 copies of the pages. We then had to label every single color we put down on a page. For example a Caucasian skin tone was Y2R2B2. Each and every color had it's own code. These pages were then sent to the separator an magically somehow that all translated into a comic book.

Coloring rates were around $25. to $30. a page, sometimes more. I colored books for Jim Salicrup, Howard Mackie, Craig Anderson and most of the editors at that time. We'd also tend to get many rush jobs, so I'd be editing during the day and coloring all night long, until it was time to go to work again. You did what you had to do. Did I enjoy it? Sure. It was a high energy time, and full of great people.



Marie Javins and I had an office in the "Marvel Annex," which was really just 4 offices with no windows, on a separate floor for awhile. Nobody came down there. We called it "The Dungeon." I'd often color there after hours, accompanied by our pet Japanese Hooded Rat that we kept in the office.

Thinking back on that time, Marvel was like a real family back then. A great deal of esprit de corp. And a wonderful place to learn more about the craft of making comics. Mark Gruenwald was a big believer in investing time in the assistant editors and teaching us the necessary skills. Each week we had Assistant Editor school, which, with Mark, was always great fun as well.



Rich: What can you tell us about the "Creator Chronicles"?

Renee: The "Creator Chronicles" is a DVD series that I co-produced with Robin Dale of Woodcrest Productions. So far we've produced DVD's on George Perez, Bill Sienkiewcz, Michael Golden, Matt Wagner and Joe Jusko. The idea is to get candid interviews with influential artists and document our comics history. We also started adding tutorials to all the DVD's. Rob also helped me produce a shorter DVD on artist Nick Cardy to go with our "Nick Cardy: The Artist at War" book. The DVD was packaged with the book to make it multi-media. You read Nick's words and then you hear and see him talk about his life as well. I intend to do that with other books as well. Currently, Rob is finishing up a DVD on Joe Sinnott, due out soon. And we are planning a few other things, including another Cardy DVD to go with "Nick Cardy: Wit-Lash."



Rich: You worked as Editor on "Silver Surfer: Rebirth of Thanos", what exactly does your job as editor mean?

Renee: I believe I was the assistant editor? I was the Assistant in Craig Anderson's office then, and he'd give me the line of books I'd be responsible for. My responsibilities on any comic or graphic novel were the same. Working with the writer, penciler, inker, letterer and colorist to keep the production of the book flowing so that the book not only comes out on deadline, but that it's the best possible book it can be.

(Craig was another great teacher in my life. And an excellent comic book editor. When Salicrup found out Craig needed an assistant and recommended me, I'll always be happy that Craig threw me the ball. Marvel during that time period was a very creative place and a great home, as said. New York was an adjustment for me having moved there straight from Texas, and Marvel was a great place to get used to the Big City. )

About being an editor-- what all these people taught me--being an editor requires you to think creativity if you are going to be good at it. Think on your feet. And I believe it's imperative to have a good artistic eye yourself. At any given time, I'd have 6-9 books a month or more to get out. Considering that you have 5-7 creatives on each of those titles, that's alot of working with various personalities and addressing various needs to keep things running smoothly.

As I mentioned, working in movies seemed to be the same thing to me, and not much different than being a comic book editor. Organization, organization, organization.




Rich: You wrote "Kerry and the Scary Things" how did you end up coming up with the story idea for this book?

Renee: "Kerry and the Scary Things," is a children's book that I developed with my friend and talented artist Keith Wilson, many years ago. Probably over 2 decades ago. It had a long and winding road to being published-- i.e. picked up by two companies that then went out of business. And Keith and I got a little frustrated to see many of the ideas we had for the book, starting to be mirrored in other pop culture projects and movies. So, we felt we really needed to get out our book and introduce it to the world. This particular book is softcover, and is a preview of things to come.

Kerry, our hero, is a little boy who loves monsters. So, he puts together a monster fighting backpack in case he ever meets any, with all the things he'll need in order to fight them. In the course of the book, you'll see if he actually does meet any monsters, how he deals with them if he does, and what he has in his bag of tricks. It's really a story about kids using their imaginations.

I think we've lost a lot of that--kids have toys or video games that play "for them," and it's important to not forget to foster creativity.

There are several sequels planned. The next, which also was written many years ago is "Kerry and the Dreadful Dragon."

My intent is to pursue animation with these properties.



Rich: What are a few highlights from your career?

Renee: Oh Gosh! That's hard to say. I've worked on so many things I love. I feel I've been very lucky to live a life where I can work on projects, be creative and say one day, "Ya know, I'd like to write this book," or "I'd like to produce this toy," and then I find a way to make it so.

Every project I'm currently working on is my favorite project.

I'd have to say for me though that some of my favorite books have been "Dying for Action: The Life and Films of Jackie Chan," and our comic book series "Spartan X," inspired by Hong Kong movies, because these led to my meeting Jackie, and my long friendship with that amazing man.



I have also loved learning about the subjects of my art books-- Michael Golden, Mark Texeira, Nick Cardy, Jackie Chan....finding out what makes them do what they do, and how they do it. That is my journalistic background coming into play.

In my film work, I have enjoyed being a part of every movie I've worked on. It is this bizarre reality where you live, eat, sleep to make a movie for six months, and the people you are working with become your surrogate families for that unique time. When the movie wraps, you almost feel like you are going through some time of mourning or withdrawal. The first morning you don't have to get up at 4 am and go to work for 20 hours, you don't know what to do with yourself!

I was lucky enough to work with some fantastic crews, with directors like Brett Ratner, and AD's like Jamie Freitag-- a few bad ones too. When those productions end, you can't WAIT to get away. :-) You are almost ready to chew your arm off to do so! But lucky most production jobs are not that way.

Of all my movie experiences tough, I think I loved working with Jackie on "Rush Hour II" and Anthony Hopkins on "Red Dragon." You remember the ones who are class acts, and I knew Jackie long before I worked with him on that movie.



Rich: What does the future hold for you, what great things can we look forward to?

Renee: I'm waiting for the next door to open. And it will. More comics, more books, more movie work, more writing. Up soon, I'll be finishing the writing on "Nick Cardy: Wit-Lash," which focuses on Nick's humor and human observances. Fun book.

I have a few other books I can't announce yet, but I think they will be fantastic to bring to life. And a few more documentary projects.

Rich: You are involved in the film industry as well what is your contribution to film?

Renee: While an editor at Topps Comics, I worked on many media tie-ins, and I enjoyed dealing with film related properties. After the Topps comic's department folded, I enrolled in film school at NYU. Around the same time, I had a skiing accident in Canada that left me on crutches. I was hobbling trying to get up and down my third floor walk-up apartment in NYC and also get to rehab every day, and learn to use crutches. It was difficult.

One day, I got a call from a friend of Buster Keaton's widow, Eleanor, who said that she could see Buster's influence on Jackie Chan's films, and she'd love to meet him someday. It so happened that Jackie was making "Rush Hour" in LA at the time, so I called him and told him Buster's widow wanted to meet him. And the next thing you know, I was on a plane to Los Angeles, and headed to the movie set.

That itself was funny because Jackie sees me on crutches, asks me what happened and shook his head in that Jackie way and said "And they say what I DO is dangerous." LOL It was a funny moment. He also kept stealing my crutches for the camera to focus on when setting up shots. (That's so Jackie though. Any time I was ever on one of his Hong Kong movie sets, he was always throwing me into a scene as an extra. You can really see me in "Crime Story.")



So, to make a long story short, while on the movie set of "Rush Hour," I met Jerry Marshall, who was doing video playback, who in turn introduced me to John Marshall who had his own production company, and they pretty much said "Why go to school when you can learn on the job." So they hired me, and I did. For five straight years. During which time, I worked with some top notch producers and production managers like Helen Dow and Rebecca Morley--Gals I still love.

Rich: How did you become a fisher and where do you like to go fishing and for what kind of fish?

Renee: Again, how far back should I go? I've been fishing my whole life. My Dad was a big fisher and hunter. I'd go target shooting, but never really got into hunting, although I didn't mind eating the deer, squirrel and dove that he brought home. We had more game than beef in our house, even though we lived in Texas.

What I really loved doing was fishing with my Dad, and when I was young my brothers too, before they got married and moved out. Some of my fondest memories with my Dad are sitting in the bass boat out on Lake Texarkana.

Now I still fish. All over the place. Often times I carry a collapsible fishing pole in my suitcase when I travel, Just in case. You can even find good places to fish in cities, and I do. It's also my goal to fish in places around the world.

Last year I fished Costa Rica for Maccacha-- fish related to Piranhas, and Stripped Bass in Tennessee, and also went Snake Head fishing in Florida. These are great prehistoric looking fish, also with teeth. Basically, whatever comic show I'm invited to, I check out the fishing. After MegaCon this year, I'm going to the Miami area for fishing again.

I want to go fishing in Thailand and Spain for some of the giant catfish. Oh man... that would be incredible!!! We're gonna do it. Maybe next year. I can't imagine the thrill of bringing in a 200 pounder.

When I was a kid, we'd often have these huge family fish frys in our back yard on Sunday, with the whole family there. Dad would fry the fish and Mom would make hushpuppies and cole slaw and we'd have some of Maw Maw's chow chow with it.

Now I do catch and release. I mean, what am I going to do with a 36 pound stripped bass in my hotel room during a comic book convention, afterall.




Rich: So just how good a salsa dancer are you, could you teach your readers a thing or two?

Renee: Now, that would be bragging wouldn't it. :-)

I'm pretty good, I guess. It comes naturally to me. I'm told so. I was raised a Southern Baptist (they somewhat frown on dancing), and didn't really dance that much when I was growing up, although I did go to some of the school dances and was woefully unprepared.

And while I still believe what I believe, I never thought dancing was something to be avoided, and I added dancing to my life when I moved to NYC and am happy for the euphoria (and exercise) it brings. It's one of the joyous things we can do as humans.

I first started taking classes when I was an assistant editor at Marvel Comics at the urging of first Steve Saffel, then Jim Salicrup and Paul Becton and Ken Lopez, and some other Marvel cohorts joined the class too with our wonderful instructor, Tony. (Come to think of it, I first met Steve and Jim both through the Dallas Fantasy Faire-- see, that's what I mean-- one thing leads to another.)

I remember that I got my Mom to go to one of the classes when she was visiting me in Manhattan, and we got her to dance too! She loved it, even though it was probably her first time. I can still see Paul spinning her around the floor.

I followed this up with classes at Dance Manhattan. I don't really take classes any more. I learn on the dance floor, and when you have a good partner-- a good lead-- it's easy to pick up steps and learn "shines," and add to your repertoire. I love Salsa dancing. It has such a guttural energy. But I also go Cajun dancing, Swing, and Zydeco dancing in Manhattan as well. Occasionally Tango, although I'm rusty on that one. There are so many great places to go.

And I love to keep learning. I'm being told that I am going to have to take West Coast Swing classes too. It's on the list. I'm not a teacher, but I'd say, take classes if there's a place near you. You'll never regret it.

Start now. If you are a teenager of either sex, I'm telling you, if you learn to dance well, you will never have a shortage of dance partners at any event. Dancing adds to your cardiovascular health, your body tone, and your overall joy in life.

There's nothing like hearing a piece of music and knowing what to do with it.

Rich: How can someone contact you?

Renee: I'm easy to find. Our website: www.evainkartistgroup.com

Also, my blog: http://witterstaetterwrites.blogspot.com/

On my blog I talk about a myriad of subjects including comics, fishing, recipes, you name it. :-) I also do restaurant reviews in NYC tagged as "Eating Manhattan."

And then there is our company page on Facebook under: Eva Ink Artist Group

Rich: Any words for all those who have been a part of your career life?

Renee: Thanks! Especially to the ones who produced good work, on time, and didn't dog editorial phone calls. I LOVE you.

And overall, thanks to every person,for the opportunity to learn from all my experiences both good and bad. I've walked away from every job, every comic, every movie, every book... with new knowledge of some sort, which always, in some regard, prepares you for the next door.



--
Richard Vasseur

HeroesCon a Buzz of Activity this Weekend!

Charlotte, NC-- The Hornets Nest is going to be buzzing this weekend, as HeroesCon Charlotte starts off with a bang on Friday and continues through Sunday, as fans swarm around for one of the best comic book and comic art shows in the nation.

Several highlights for the weekend include panels that take a look at the "Art of Nick Cardy," on Friday at 2:00. "The Art of Michael Golden" on Friday at 1:30, and a war comics panel on Saturday, featuring both Michael Golden ("The 'Nam) and Nick Cardy and others, which will also focus on the new Cardy book from Eva Ink Publishing.

This much anticipated new book, "Nick Cardy: The Artist at War," recreates Nick's sketchbooks from his time in World War II, and shares his life in the war through his art. This will be the official debut for the autobiographical tome. And the book will be available at the show in both sketch and autographed versions. Came by and see either Nick Cardy or Renee Witterstaetter (Eva Ink) at their tables to get your copy.

Amazing painter, Mark Texeira, will also be at the show. Known for his stunning work on "Ghost Rider," "Black Panther," "MoonKnihgt," and much more, Texeira will soon be featured in two new Punisher mini-series from Marvel Comics. Mark will be sketching and signing all days of the convention.

Writer and color artist, Renee Witterstaetter, in addition to having copies of her new book "Nick Cardy: The Artist at War," at her table, will also be offering new books "Michael Golden: More Heroes and Villains," "Joe Jusko: Savage Beauty," and the new children's book "Kerry and the Scary Things."

Other wonderful talent joining the show include: Rodney Ramos, Adam Hughes, Craig Hamilton, and way too many to mention here!

Nicknamed "The Hornets Nest," by General Cornwallis in the Revolutionary War, after being driven out by hostile residents, the strength and force of will that made Charlotte that "nest of rebellion" then, is still strong in this amazing city. And we're happy that their reception of comics and comic fans is much more warm than what the good ol' General received...

Come see what makes this show….and this city.. so spectacular.

For more information go to: www.heroesonline.com

For more information on the artists featured in this article, visit: www.evainkartistgroup.com

(Artwork: Bee Girl by Michael Golden.)

NIck Cardy on "Where Monsters Dwell" Radio, March 2nd!

Hi Ya'll-- The fine guys at www.wheremonsterdwell.ca will be interviewing artist Nick Cardy, live, tomorrow night, March 2nd. The shows starts around 9:00 pm. EST, and you can listen to the live stream either on the radio or on their website.

Nick will be talking about his influential career in comics, as well as his new book with Eva Ink Artist Group, "Nick Cardy: The Artist at War," focused on Nick's sketches during WWII and his experiences therein.

I had the wonderful fortune to interview Nick for 4 hours the other night myself, and I am transcribing even as I type. How I love my job! :-)

Don't miss this interview with a true living legend in sequential art history. Nick is a wonderful storyteller, not only on the printed page, but in person as well!

--Renee

Exclusive Interview with Nick Cardy-- On the new book from Eva Ink!!

I am so excited about my new project at Eva Ink: "Nick Cardy: The Artist at War." This book focuses on Nick's time in the army during World War II and the sketches he kept at that time. Instead of a camera, Nick captures his experiences with a notepad and pencil, and a small box of watercolors, chronicling a time and place in history for us all.

The book also features a DVD on Nick, talking his career and experiences, and comes in a sketch edition and signed edition.

Here is the original link: http://www.previewsworld.com/public/default.asp?t=1&m=1&c=6&s=462&ai=105001&ssd

If you have any ordering questions, please contact me at: evaink@aol.com

Best,
Renee

Eva Ink Publishing

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PREVIEWSWORLD Exclusive: An Interview With Nick Cardy

PREVIEWSworld Brand Manager Sarah Martinez conducts an exclusive interview with the legendary Nick Cardy to showcase his amazing career and life’s work which are highlighted in the new book “Artist At War HC” with DVD insert. Thrilled at the opportunity to speak with Mr. Cardy, Martinez asks the comic legend about his past comic work, as well as his efforts and experiences with the US war effort during WW2.

Sarah Martinez (SM): Mr. Cardy, you’ve gone through a number of pen names through your career: Ford Davis, Nick Cardy, and Nick Cardi, but no matter how you signed your work, your pencils, inks, and layouts are distinct and praised. For new readers, please tell us some of the titles you’re most known for and what kind of work you did on each of them.

Nick Cardy (NC):Oh, heh, well, I suppose I’m known best for my work on Teen Titans. And Aquaman. And Bat Lash. Maybe not as well known for Bat Lash, but that was some of my favorite work.

Mostly I did pencils and inks — I liked inking my own work. It gave me a feeling of completion and it usually came out the way I’d originally intended.

SM: Even now, the current crop of young talent aspires to work on any of the series you pioneered with DC Comics, but you too were once a ‘young talent.’ How old were you when you started? Where did you work, who inspired you, and how? What feature was your ‘first in print’ and what was it about?

NC: Well, the first work I got was with Will Eisner when he had the studio with...Iger, Bill Iger. That was around 1939, 1940. I was 18 and 19.

I worked on [the] Lady Luck [strip] which was four pages a week. That was a color supplement that was inserted into the Sunday Papers. I was Ford Davis then — that wasn’t my pen name, that was the pen name of anybody who worked on the strip, see? It came with the strip.

Most of the guys I was working with were inspired by the great comics artists of the time, Alex Raymond, Milton Caniff, but I was following the great Illustrators into the Fine Arts; Leyendecker, Bob Peak, Al Parker. And classic artists like Rembrandt and Degas.

SM: Looking back from a current perspective it’s easy to see what a pillar of comic history that Eisner became, but at the time that you worked for him, was there that same sense of awe and importance to the work coming out of his studio? What did your family think of your early work—or of you making comics at all?

NC: Well, I had received lots of awards for art as a teen so my family was very encouraging. I had had my pictures published in the newspaper when I was 14. And I was making money, too, so they couldn’t complain. Heh.

I started out at Eisner for $25 a week—a that was good money! Then I went to Fiction House which I found out was paying a hell of a lot more money. Fiction House was a company that had a large roster of characters that they published. I worked on various titles there; Rita Rio, Camilla, they had spy stories and jungle stories — you were never bored.


SM: You would have been 19 when WW2 started, but you did not immediately enlist. What inspired you to join the war effort when you did? Had any of your family served in WWI? Were they any more comfortable with you being a solider than an artist?

NC: Oh, no. I was drafted. I didn’t want to go. Nobody wanted to go. We all did, but we didn’t want to. I was drafted on April Fool’s Day. I was hoping it was a joke. (laughs)

SM: When the decision to enlist was made, what branch of the armed forces did you choose? And how did your art skills affect your military career?

NC: I was drafted on April 1st, 1943 and sent to Camp Blanding in Florida for basic training and maneuvers. Then I went to Alabama and then Little Rock, Arkansas. I was there when I met a bartender in Little Rock — he had been a bartender at the Stork Club in NYC — and I would do drawings for the bar, guys playing golf and such, you see. So people saw that I was an artist.

Then there was a competition to design the insignia for a shoulder patch for the entire Division. It was this panther, see. I won. And that’s where this General saw me and took a shine to my work. He liked the idea of having his own personal artist. But there was no job called “Company Artist” so they had to give me something that would keep me around. So they put me in the Motor Pool. I didn’t even know how to drive!

Eventually though, they couldn’t hide me anymore, see. And I was transfered. (laughs)


SM: When you were assigned overseas, where were you stationed? Did you speak the language there, or have much contact at all with noncombatants outside your base? Did you have many opportunities to draw those people and places?

Nick Cardy: I was sent to England and they bounced me around for awhile, not really sure where to put me. I was zigging and zagging around. Then I got pleurisy and ended up in the hospital. When I got out they assigned me to the Tank Division and told me to find my way to the front.

SM: Please talk to us about serving in a tank battalion. Were you assigned with a set group of soldiers? What was your job within the unit?

Nick Cardy: I was the Assistant Driver. Have you ever been to Europe and seen all the corners of the buildings that are missing? That was me. We were the Spearhead Unit, Third Armored Division, in Belgium under General Rose. Thrown in without instruction or experience. I knew nothing. You learned on the job and you had to learn fast.There were guys getting killed out there.

SM: How long were you deployed? During that time, what did you draw? How did you choose what to draw?

NC: When I went into the service, all my belongings and clothes were in a duffel bag: my artwork and all my art supplies,a tiny watercolor set, small sketch pads, and a small watercolor block. If things were quiet, I could sketch at the time—but when it got busy, when we were in action—those sketches were all done from memory. I made mental notes and would draw later. For long periods of time nothing would happen and I could draw—but then the whole world would explode around you.


SM: Did the men in your unit understand or did they give you a hard time? Was this something you could do openly?

NC: No, they would watch me, they all enjoyed it. They would pose for me and I would draw for them sometimes. They would take my drawings—they liked them. The nurses took a lot of my drawings.

SM: You were awarded 2 Purple Hearts for injury during your service. Were you ever worried that an injury might keep you from drawing? After years in combat and years of sketching combat did you see the art as something you would return to after the war?

Nick Cardy: I had been injured first when I took some shrapnel in the leg from a German sniper. I went to the hospital and was treated for it, but I didn’t report it because people were being shot or killed all around us and I didn’t think it measured up to all of that, you see.

Later, once the war was over, we were all going from Paris to Versailles, thousands of soldiers, and I missed the truck I was supposed to be on. I caught a ride in a jeep with these guys and on the way the driver lost control and we went over. I woke up on my side with my right arm numb, trapped beneath the jeep. All I kept thinking was, “I could still sculpt. I could do that with my left hand.”

SM: Back home, many people have come to associate Bill Mauldin’s Willie & Joe with “WW 2 War Art.” How would you compare your work during the war and on your issues of war comics to that of Mauldin?

NC: Oh, Mauldin was very, very good. Everyone loved that stuff. Mauldin was always about the war around [his two characters] Willie and Joe. What I was doing was recording what was happening to me, reporting the war that I was seeing and living.

SM: There is no denying that your experience in a live combat setting influenced your ability to draw exciting action scenes and dynamic movement—but what in particular do you feel that your time in the military brought to your art?

NC: I don’t really feel that it influenced my artwork per se. The only thing I really got out of it was when I would have a chance to go into the museums and look through the galleries there. I didn’t have much. I learned to work with what I had and improvise for what I didn’t.


SM: Ultimately, the close of the war brought you home. How long did it take you to settle back into civilian life? What was the hardest part? And how did you get back into comics?

NC: Several times in your life you have a moment — maybe the funeral of a relative or something — that puts a lump in your throat. One of my lump-in-the-throat moments was coming back from Europe. They sent us back on a ship, you see. And it was packed with soldiers. And a lot of them were sick. The weather had been rainy for days. And they told us that we would be coming in soon and lots of people were out on the deck, but it was so foggy you couldn’t see anything. And then suddenly, rising out of nowhere, out of the fog, the Statue of Liberty was right there before me. I got all choked up — I mean, the first thing I see, it’s the Statue of Liberty. I knew I was home.

It wasn’t hard getting back to work. Right away I got a place in a studio with 3 other guys, one was my friend, Al Plastino. I had decided that I wouldn’t do comics anymore and focus on illustration. I worked on my portfolio for a few years, getting work doing covers and illustrations for the crossword puzzle magazines. But then the magazines stopped using illustrators, photography was much cheaper and faster!

Al was doing the Batman daily strip and I helped him out on that from time to time. Then they found out I was available and asked me to do the Tarzan strip. I did that for about a year. I was all excited. Tarzan! Jungles and animals! But the only stories I got, he was in the desert. (laughs)

I did Tarzan and Casey Ruggles and then did some occasional jobs for DC--Gangbusters, Tomahawk, Congo Bill. Then they hired me on Aquaman and I worked there steadily ‘til about 1975.

SM: As a U.S. war veteran who used his talent even during war time, is there anything you’d like to say to our men and women currently serving?

NC: Thank you for doing what you do.

SM: Thank you sir, for your time and your effort: in this interview, in the comics industry, and on behalf of this country.

(Special thanks to Todd Dezago and Renee Witterstaetter for assistance with this article.)

"Nick Cardy: The Artist at War" -- From Eva Ink Publishing

I can't even begin to tell you how excited I am about this new book from Eva Ink Publishing--"Nick Cardy: The Artist at War."

Not only do I consider this book a wonderful tribute to legendary DC Comic's artist, Nick Cardy, but the historical significance is what I love as well. It's a part of all of our histories....

I've always been a World War II buff.

I was that weird kid in Jr. High and High School, who spent most of her time in the library, reading books about the African Campaign and the military strategy in Europe. Why, at Westlawn Jr. High, my 9th grade history project was editing, directing and compiling a 2 hour slide show on the "war to end all wars." I particularly enjoyed writing the script. A lovely lady -- a death camp survivor, whom I'm sure is long gone now.... provided some wonderful narration. I think my teacher, Coach McGregor, was blown away, and ended up keeping the project to show to later classes. I won the History Award that year. LOL

As you can see, I REALLY am, and have always been, fascinated by history.

So, it was no wonder that on a recent visit with Nick, when he brought out a little binder, about 3 inches thick, and invited me to take a look, I was blown away by what I saw--- original sketch after original sketch, chronicling Nick's time in the army during World War II-- from the time he was drafted, through basic, to being dropped, perhaps woefully unprepared, into out and out conflict and mayham!

And this was the original book!

I understood the significance of that... This was Nick's outlet during the war, to take himself out of whatever was going on around him. To chronicle his life with art, in lieu of a camera. His artist's eye WAS the camera. This was the book that was in his pocket during quiet times around a mess tent. This was the book that was in his pocket when buildings were exploding around him...This was the book that was with him when he watched friends die.

And it's all here...

It was a foregone conclusion. I HAD to do this book.

What I love about this project, as I'm sitting here holding the original binder, is how it unfolds like a movie... slowly... the day to day of basic training, the mundane acts of getting your hair cut, or washing your face to go to mass.... plopping down totally exhausted to sleep on a thin canvas cot--surrounded by people, but separated from those you love.... from there, the pages escalate to the young man being shipped overseas, and almost immediately being dropped into towns in Belgium enduring relentless shelling, enemy tanks approaching around the corner, buildings exploding like paper firecrackers, reduced to rubble....and finally, Nick's own exit from the war.

Long before Nick Cardy became lauded as one of the best cover designers to ever work in the comics industry, this was part of his story...

It is one man's journey....

I am so pleased to present this sketchbook in it's entirety, complete with Nick's own commentary, in a hardcover 6x9, 128 page book. Also included in the deluxe edition will be a 30 minute DVD interview with Nick talking about his experience.

In these pages, you can see the same attention to movement of the human body and knack for page design so apparent in all of Nick later illustration work.

So, I invite you to come on this journey--because again, that is surely what it is--one man's journey...during a horrible war...echoing perhaps the experience of millions.


Best,

Renee



________________________________________



Here is the Diamond Solicit for ordering:



"Nick Cardy: The Artist at War"

Hardcover

128 pages



Signed Edition with DVD:

978-1-4507-4725-7

$39.99



Sketch Edition with Original sketch by Nick Cardy and DVD:

978-1-4507-4726-4

$150


"Renowned cover artist and illustrator from DC Comic's golden years, Nick Cardy now in his 90's, has been drawing his whole life. And thank goodness for it, as he contributes now to not only our comics history, but to our history as a nation as well. Before beginning his career in comics post World War II, Nick was one of our young men shipped overseas to take part in the “war to end all wars.” Without benefit of a camera, Nick did what he did best-- carrying a sketchbook and documenting his time in the war from beginning to end. The humor and the horror. What we have at the end of the book, is a chronicle, one man's journey, that speaks for millions. Each sketch and painting accompanied by Nick Cardy's own commentary. A must have for fans of comic art and history as we hear it from the mouth of an industry legend, and see it with our own eyes."



This book can be ordered from Diamond directly or from Eva Ink Publishing: evaink@aol.com

Golden at Baltimore/ Eva Ink and Woodcrest Participate in Harvey Awards!

Hi Ya'll--It's that time of year again. Baltimore ComiCon is happening a little later this year. Autumn is in the air--my favorite time of year, and it's time to board that train and get to the harbor and some great seafood. Crab Cakes are on the agenda.

Also for the second year in a row, I'm proud to say that my company, Eva Ink Publishing and Eva Ink Artist Group, along with our partner, Woodcrest Productions, will be donating some of our "Creator Chronicles" DVD series on industry creators as part of the gift bags for Harvey Awards attendees. There is always some cool stuff in these bags folks! It's not too late to get your tickets for the gala dinner and awards ceremony. We always have such a good time there, too. Last year I got to sit with the legendary artist Nick Cardy, and shared some wonderful conversation with this amazing man. :-)

Creator Michael Golden will also be a guest at the show all weekend, so stop by and see us. I'll be in Artist's Alley as well. At Mid-Ohio I had many of my old book I'd forgotten brought up for a signature. I'm sure I'll see some in Baltimore too.

Above, Golden scares up some spooky art for Halloween! :-)

Best,
Renee
:-)
____

Michael Golden Helps Baltimore Celebrate 10th Year!
Eva Ink and WoodCrest Productions Support Harvey Awards!


Baltimore--Fall is in the air and that can only mean one thing! It's time for the 10th Annual Baltimore ComicCon! And, just announced, joining the amazing line-up, and returning to one of his favorite shows is Co-creator of the X-men’s Rogue character, Michael Golden! Baltimore HAD to be on the agenda! And no matter if via plane, train or automobile, it should be on yours as well!

"I look forward to the gathering of pros and fans, in the great atmosphere that this show fosters, each year," says Golden, having just spent most of the last year conducting classes in sequential art storytelling worldwide, and accepting a few Guest of Honor nods along the way. "I wouldn't miss it."

Golden's pivotal and groundbreaking work can be seen in and on such books as "The 'Nam," "Micronauts," "G.I. Joe Yearbook," "Dr. Strange," “Nightwing,” “Detective,” “Heroes for Hire," "Hulk," "Spiderman," "Uncanny X-men" and “Iron Man” "Spartan X," "Bucky O'Hare," among much, much more.

Michael, no matter on which character, is indeed known for his unique art style that at various times seems detailed and at other times seems to be amazingly streamlined--cutting away the excess and maintaining the true essentials of a piece. Thus the title of his recent top-selling art book, "Excess: The Art of Michael Golden," from Vanguard Productions!

Current projects include “Manga Bucky O’Hare” from Vanguard Productions; “Michael Golden Monsters” portfolio from Eva Ink; “Heroes and Villains Sketchbook” from Eva Ink; “Modern Masters in the Studio with Michael Golden" DVD and trade from TwoMorrows; “The Creator Chronicles : Michael Golden” DVD from Woodcrest Productions, and Michael's new sketchbook "MORE Heroes and Villains," due out in the fall.

Honored with gallery shows in places as diverse as New York, Brussels, Antwerp, Gijon, Paris and Barcelona, Golden is sought after for his signature art class in storytelling, which he has conducted throughout the United States, Canada, Europe and now China. Michael has served as an Editor at DC Comics as well as Senior Art Director at Marvel Comics, and has worked on scores of movie production projects, including some currently in development. As well as design work for both Universal and Disney.

Guests joining Golden, Oct. 10-11 for Baltimore include: Brian Michael Bendis, Robert Kirkman, David Finch, Marc Silvestri, Chris Claremont, Bernie Wrightson, Frank Cho, Tim Sale, Doug Braithwaite, Matt Fraction, Stan Sakai, George Perez, Joe Kubert, J.G. Jones, Rob Liefeld, Neal Adams, J.Scott Campbell, Jimmy Cheung, Cully Hamner, Sanford Green, Barry Kitson, David Mack, Mike Manley, Mike McKone, Terry Moore, Steve Niles, Walt Simonson, Matt Wagner, and many more!

Also, don't forget the Harvey Awards on Saturday night as the industry honors some of our great talents. Eva Ink and Woodcrest Productions are happy to once again be donating DVD's from their "Creator Chronicles" series for the gift bags at the event. "This has become a tradition for us,' says Renee Witterstaetter of Eva Ink. "We are thrilled to be part of the Harvey's and what they stand for, and Baltimore has provided such a classic home for the event."

So grab that nearest car, train or plane, and get thee to the ComiCon!

For more information on the Baltimore Comic Con, visit www.comicon.com/baltimore/

For more information on Michael Golden and his work, contact: evaink@aol.com; www.evaink.com